Professional Documents
Culture Documents
Guitar Training
Material for the student of jazz guitar
Introduction 7
Basic exercises 9
Technical exercises 10
SCALES:
ARPEGGIOS:
Elementary arpeggios 37
Arpeggios 42
Major arpeggio diagrams and usage 43
Major arpeggio exercises 46
CHORDS:
Chords introduction 52
Chords type 1 53
Chords type 2 54
VOICINGS:
Voicings introduction 67
Take the A Train - chord melody 68
Take the A Train voicings 69
All the things you are - chord melody 71
Autumn Leaves basic - chords 72
Autumn Leaves comping exercise and voicings 73
Blue in Green - chord melody and voicings 80
Blue Bossa - chord melody and voicings 81
Blues voicings in F7 82
Blues voicings in Bb7 83
Blues voicings (Parker blues) 84
Body and Soul 85
Lullaby of Birdland - chord melody 86
Pent up House - voicings 87
I ve grown accustomed to your face - chord melody transcription 88
Giant Steps - chord melody 90
Have you met Mrs Jones - chord melody 91
Girl from Ipanema - chords 92
How high the moon - chord melody and voicings 94
Misty - chord melody 96
Round Midnight (block chords) transcription 98
One Note Samba - chords 100
Rhythm Changes - voicings 101
Satin Doll - chord melody and voicings 103
Stella by starlight - chord melody 106
It shouldn t happen to a dream - chord melody transcription 108
Yardbird suite - chord melody 109
Patterns for comping 110
Swing patterns 111
II-V-I patterns 114
SOLOS:
DEMO
Diatonic chords DEMO
in drop2 and DEMO
drop3 shapes DEMO DEMO
189
Drop2 and drop3 chords and inversions 192
Drop2 and drop3 chords with extensions (advanced) 199
Addendum:
This is the major update of the popular Guitartraining XL jazz guitar course.
This publication is not meant to be a guitar book in the usual way, yet it represents a
profound collection of material for jazz-guitarists. There are no excessive explanations,
you will find them in hundreds of other books or on guitar websites.
The idea was to provide material for all the topics that are essential for improving
improvisational skills and to train them along with suitable standard jazz tunes. That is
why this collection consists of two parts:
- Part I gives you the technical basis - scales, arpeggios, chords, rhythmic exercises,
articulation exercises
- Part II contains II-V-I patterns, chord voicings, chord solos, single line solos by
combining exercises with different jazz standard tunes and chord structures (like Blues
or Rhythm Changes)
This more practically-oriented approach does not cover all topics completely. But it gives
you all the musical vocabulary that helps you to develop your own style by first imitating
and practising the given phrases, voicings and solos with the aim to integrate them into
your own musical language.
Along with this e-book comes a folder with hours of media files. You can listen to each
exercise, watch numerous videos with fretboard view (the number has dramatically
increased to 80) and jam along with the backing tracks. Just click on the icons on the
pages. Moreover I have provided bookmarks so you can jump to any page quickly. If you
like you can print the pdf document and you will get a complete book. I recommend you
contact your local copy shop and let them do that for you.
The media files in the folder data are named according to the pages of the book. This is
convenient for those who want to copy the material to a tablet and search for a certain
media file. The format of the files is mp3 and mov or mp4, so you will be able to play
them in your computer, tablet or standalone DVD-player.
Wolfgang Kulawik
October 2015
The Guitartraining material is not a step by step course, but offers different approaches to
your instrument.
1 2 4
2 4
Position 1 3 4
1 1 3 4
G-major 1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 3 4
Position 1 2 4
2 1 2 4
G-major 1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 2 4
Position 1 3
3 1 3 4
G-major
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
2 4
Position 1 3 4
4 1 2 4
C-major 1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 2 4
Position 1 2 4
5
1 4
C-major
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12
Here is an example how to practise the major scale fingerings. You start on the root of
Gmaj7 and play one octave up to the ninth of the chord, then down again. Then you
continue to play the same fingering, but start on A, so that you play the A dorian scale.
Continue the pattern until you are in Gmaj again.
ionian
Gmaj7
dorian
Am7
phrygian
Bm7
lydian
Cmaj7#11
These chords are derived from the drop3 system. The basic structure is:
a) root / b) 7th / c) 3rd / d) 5th
The colour of the chords results from the possibilty of playing two colour tones at the same time on
the upper two strings. That implies that the root or the 5th have to be omitted in favour of colour
tones on the upper two strings of the chord.
Moreover there are chord ambiguities due to the fact that the root is not clearly
defined. So one chord shape can have more than one name.
type 3A:
min7
1. basic chords
Here you will find the basic chords for a standard jazz II-V-I progression.
Always practise only one progression, but dont forget to transpose it into other keys or positions
on the fretboard. Example:
Am7 - D7/9 - Gmaj7, transpose by moving a whole step up to: Bm7 - E7/9 - Amaj7 and so forth.....
a) II-V-I in Gmaj7:
w
A7 D9 G7 A7 D7(#9) D7(b9) G7
w w w b w
& w
w w
#w
w #w
w w
w # #w
w
w w w w
5 5 3 5 6 4 3
5 5 4 5 5 5 4
5 4 4 5 4 4 4
5 5 5
5 3 5 3
ww
A7(11) A7(#11) G7 A7(11) A7(#11) G%
& w ww
bw w
#w
w ww
w ww
bw w
w
w
w bw w w bw w
w
tritone substitution tritone substitution
3 3 3 3 3 3
5 5 4 5 5 2
5 4 4 5 4 2
2
5 4 3 5 4 3
b) II-V-I in Cmaj7:
w w
D7 G13 C7 D7 G13 G7(b13) C9
w w
w w
w w b w
w
& w w w w w
w w w w
w
6 5 5 6 5 4 3
5 4 4 5 4 4 4
7 3 5 7 3 3 2
5 3 5 3
3 3 3
w ww
D7 D7 C7 D9 D7(#9) C%
w
w w
w w
w w
w w
bw
& b w w w
w w w w bw
w w
w
tritone substitution tritone substitution
6 6 5 5 5 3
5 4 4 5 4 2
7 6 5 3 3 2
5 4 3 5 4 3
w w
w
w
A7 A9 A7 A7(11) A7 A7
w w
w w ww w
w
w w w w w
& w
w w
w w w w
5 7 8 10 12 15
5 5 8 8 10 13
5 5 9 9 12 14
5 5 7 7 10 14
w w
w
A7
w w
A7 A7(11) A7 A9 A7
w ww w w w w
w w w
w w
w w
w w
w
& w w
15 12 10 8 7 5
13 10 8 8 5 5
14 12 9 9 5 5
14 10 7 7 5 5
ww
D7 D9 D7
w w
D7(11)
w
D7 D7 w
w
w w w ww w
w
& w w w w w w
w w w w
5 8
3 5 6 8 3 6
5 5 5 5 5 7
3 3 7 7 3 7
5 5 5 5
w w w
w
w D7 D9
w w
D7
w
D9
w w
D7
w
D7
w
w w w w w w
w
& w w w w w
10 12 13 12 10 8
10 10 13 10 10 6
10 10 14 10 10 7
10 10 12 10 10 7
ww w w
D7 D7(11) D7 D9 D7
w
& w w
w w
w w ww
w w w w
w w
w
5
3 8 6 5 3
5 5 5 5 5
3 7 7 3 3
DEMO 5DEMO DEMO
5
DEMO
5
DEMO 5
63
Autum Leaves comping exercise
b
B7(#11)
A7[]
b
D7/F
F7(b913)
C11
# b #
& b
12 10 8 6 10 10
10 6 10 10 8 6 7
10 6 9 8 8
8 5 10 8 7
0 8
B%(#11)
A7[]
D11(13)
& # #
b J
j
5 8 5 3 3
5 6 6 5 6
5 7 6 7 6 4
5 5 3
5
6
#
E7[] A(9) A9 D(7) D
& # # n # n
8 8 8 4 7 7 7 5 13 13 13 8
8 5 5 10 10
7 5 5 10 10
6 6 5 11 10
7
C7 F7 B7 C7 B7 A7
8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
D7 G7 E7 A7 D7 G7
5
6 10
5 5 3 3 5 6 8 8 8 5 6 8 8 8 8
5 5 4 7 5 4
3 3 9 8 7 6
7 6 5 4
C7 F7 B7 C7 B7 A7
9
8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
10
D7 G7 C7 B7(#9)
13
5 5 3 4 5 5 8
5 5 4 5 5 8
3 3 7
E7 F7(b5) B7(b9) E7 A7
17
5 6 6 5
8 8 10 10 10 7 8 7 8 10 8 7 5 8 8
7 9 11 9 8 9 7 6
9 5 7 10 10
7 7 9 9 9
D7 E7(b5) A7(b9) D7 G7
21
6 5 6 8 8 6 8 6 5 5 6 8 8
7 7 7 7 7
2 3 5 8 2 3 5 5
5 7 5
C7 F7 B7 C7 B7 A7
25
8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8
D7 G7 3
29 C7 D7 G7
5 5
5 3
5 4 7
3 3 7 9 10 10 10
10 10
D7
IV.
1
2 4 1 2 4 1 4 3 2 4 1 3 4 1 2 4 1 4 1 2 3 1 3 2 1 3 1 2 4
5 8 5 6 7 5
4 7 6 5 7 4 4 5 7 7 6 5 7 4
4 5 7 6 7 6 7
5 7
IV. D7
2
3 4 1 3 4 1 3 2 1 1 4 1 2 4 1 2 1 4 1 1 4 3 1 4 3 1 3 2 1
7 5 7 5
8 7 8 5 7 5 5 8 8 7 5
7 5 7 4 5 4 5 7 6 5
7 5 4 7
D7
IV.
3
3 4 3 2 1 4 3 2 1 4 3 2 1 4 1 3 4 1 2 4 1 1 4 2 1 4
7 8 7 6 5
8 7 6 5 5
8 7 6 5 4 4 5 7 5 7
7 6 7 7 5 4
4
D7
IV.
2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 421 2 1 4 2 1 4 1 1 3
5
4 4 5 7 4 5 7 5 4 5 7
4 5 4 5 7 4 5 7 5 7 5 4 4 7
5 7 7 7 5
.
CHORUS 1
b
&b b . J J
J
.
octave fills ................................ Cm7
8 10 11 8 8
.
8 10 8 10 11 8 8
11J 8J
5 7 8 5 5
J
5 7 5 7 8 5 5
b .
5
3 3
b
3
& b J
3
C blues scale (Ebmaj pentatonic)...............................................................................................
3 3 Fm7 3
.
10 8
J
8
8 10 10 8 10 8 10 8 8 8 10 8
10 10 8 10 10
3
b
8
&b b n
G7#9 Cm7
Dm7b5 C harm minor.......................................................................................................
7 7 7
10101010 9 9 9 9 6 6 6 6 5 5 5 5 5
8 8 8 8 6 8 6 5 6 5
8
b b b b
11
b
& b b b b
Ebm7 Ab7
Eb dorian..............................................................................
Dbmaj7 arpeggio...
7696 76
8 6565 65 5 653 35
4
8 86 4634 3 36 6
6 4634
b
14
b
&b b
3
6 6 6 6 6 6 6 6 6 6 6 6 6 6
7 7 7 5 5 4 4 7 7 7 5 5 5 4
7 7 7 6 6 6 6 7 7 7 6 6 6 6
6 6 6 5 5 5 5 6 6 6 5 5 5 5
6 F7/13 D7#9
6 6 6 6 6 6 6 6 6 6 6
4 4 4 7 7 7 5 5 5 5 5
6 6 6 7 7 7 4 4 4 4 4
5 5 5 6 6 6 5 5 5 5 5
6 6 6 6 6 6
3 3 7 5 3 4
3 5 7 4 3 4
5 3 6 5 5 6
3 3
Chorus 2:
13 F7/13 Bb7/9 b9 F7/13
6 6 6 8 6 6 6 6 6 6 6 6 9 8 6
7 7 7 5 4 4 7 7 7 7 8 7 5
7 7 3 5 3 6 6 6 7 7 7 7 6 5 3
6 6 5 5 5 5 6 6 6 6 6 5 3
6 6 6 6 5 6 6 9 9 6 6 5 6 6 6 6 6 4 6
5 5 5 5 4 5 4 8 8 7 7 6 7 7 5 5 5 5 3
6 6 6 6 5 6 6 8 8 7 7 6 7 7 4 4 4 4 3
5 5 5 5 4 5 5 7 7 6 6 5 6 6 5 5 5 5 5
3
3
3 3
intervals:
Am = D7 Abm = Db7
scale mixolyd. scale mixolyd.
3 same intervals 3
on E-minor
3 3
Dm7/9/11=Fmaj9 Em7/9/11=Gmaj9
arpeggio starting on 3rd arpeggio starting on 3rd
Am7 D7 Am7 D7 C
3
3